Maurice Benayoun (France) & Tobias Klein (Germany)
莫奔（法國）及 托比亞斯．克萊因（德國）

Maurice Benayoun
莫奔（莫里斯．貝納永）

Artist, theorist and curator, Maurice Benayoun (MoBen, 莫奔) is a pioneering and prominent figure in the field of New Media Art. MoBen’s work freely explores media boundaries; from virtual reality to large-scale public art installations, on a socio-political perspective. Maurice Benayoun’s work has been widely awarded (Golden Nica Ars Electronica 1998…) and exhibited in major international museums, biennials and festivals. Some of MoBen’s major artworks include The Tunnel under the Atlantic (VR, 1995), World Skin a Photo Safari in the Land of War (VR, 1997), the Mechanics of Emotions (2005-2014), and Cosmopolis (VR, 2005). Elaborating on the concept of “Critical Fusion” applied to art in physical or virtual public space, Maurice Benayoun initiated the Open Sky Project on the ICC Tower Hong Kong media façade.

With The Brain Factory and Value of Values, he is now focusing on the morphogenesis of thought, between neuro-design and crypto currency, brain and money. After teaching new media art practice and theory at Paris 1 Pantheon Sorbonne and Paris 8 University, and at the French National School of Fine Arts (ENSBA), Maurice Benayoun is currently full Professor at the School of Creative Media, City University of Hong Kong.

又稱莫奔（Moben），法國先驅新媒體藝術家及理論家，也是新媒體藝術領域的領頭人物之一。莫奔的作品自由探索媒體的界限，從社會政治角度出發，並由虛擬現實走至大型公共藝術裝置。他的作品曾獲多個國際大奬（包括1998年Ars Electronica的金奬等…..）並曾於多個國際主要的美術館、雙年展以及藝術節展出。其中的重要作品包括 The Tunnel under the Atlantic（虛擬現實，1995年）、World Skin a Photo Safari in the Land of War（虛擬現實，1997年）、the Mechanics of Emotions（2005年至2014年）以及Cosmopolis（虛擬現實，2005年）。莫奔在物理或虛擬公共空間中闡述了「關鍵融合」的概念，並在香港的ICC大樓的外牆屏幕發起了Open Sky項目。

透過作品The Brain Factory及Value on Values，他現時專注於思想的形態發展，作品概念遊走在神經設計、加密貨幣、大腦與金錢之間。 繼於法國第一大學、第八大學和國立藝美術學院中教授新媒體實踐以及理論後，現任香港城市大學創意媒體學院教授。

Tobias Klein
托比亞斯．克萊因

Tobias Klein works in the fields of Architecture, Art, Design and interactive Media Installation. His work generates a syncretism of contemporary CAD/CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical cultural references. He sees the architect artist as the creator-craftsman that finally has the chance to overcome the fifteen- and sixteenth century schism of intellectual from manual labour, as well as the nineteenth-century gulf between automatic mechanization and poetic creation.

The works of his studio are exhibited international with examples being in the collection of the Antwerp Fashion Museum, the London Science Museum, the V&A, the Science Gallery (Melbourne), the Architectural Biennale Venice, the container (Tokyo), the Industry Gallery (Los Angeles), AIL (Vienna), the Bellevue Arts Museum, and the Museum of Moscow and Vancouver. His work is part of the inaugural ceremony and permanent collection of China’s first 3D Print Museum in Shanghai. He lectures and publishes internationally, recently winning SIGGRAPH 2018’s Best Art Paper Award for his research on the translation from traditional to digital Craftsmanship. Tobias is currently an Assistant Professor at the School of Creative Media, City University of Hong Kong.

托比亞斯專注於建築、藝術、設計及互動媒體裝置領域，他的作品透過融合當代CAD/CAM技術與場地空間，具有文化特定的設計敍事、非線性設計過程以及歷史文化參考的特色。他認為建築藝術家是創造者以及工匠，最終能有機會克服十五及十六世紀的智識分子與體力勞動之間的分派，以及十九世紀自動機械及詩意創作的鴻溝。

他工作室的作品曾於國際多個重要場所展出，包括Antwerp時裝藝術館、倫敦科學館、維多利亞和愛伯特博物館、墨爾本的科學藝廊、威尼斯建築雙年展、東京the container、洛杉磯的工業藝廊、維也納的AIL、貝爾維美術館以及莫斯科及溫哥華美術館等。他的作品是中國首個三維打印博物館(上海)的開幕作品以及其永久館藏的一部份。他富有多人個國際講課跟出版的經驗，近年他的傳統工藝到數位工藝的硏究曾於2018年的SIGGRAPH獲得最佳藝術論文奬項。